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Big Thief Release Third New Single ‘Century’. U.F.O.F. Out This Friday

30 April 2019

Today, Big Thief share ‘Century’, the third single from their forthcoming album U.F.O.F. (out this Friday).

Following Cattails and UFOF, ‘Century’ finds the band at the height of their powers as musicians, with bassist Max Oleartchik seamlessly intertwining with James Krivchenia’s effortless and inventive drumming. On top of it all, Adrianne Lenker’s evocative storytelling draws you in, weaving a tale left to your own devices to interpret. Closing the song out is a divine guitar solo from Buck Meek, one that leaves you wanting more, if only another few measures.

Big Thief will support the release of U.F.O.F. with a trio of Canadian shows listed below:

black midi Present New Single “Talking Heads”

30 April 2019

black midi the enigmatic London-based four-piece that “are less interested in proving themselves the future of indie rock than in imagining indie rock from the future” (Pitchfork), today present new single, Talking Heads

“Talking Heads” is a calculated intensity, driven by frenzied percussion, bright, vivacious guitar, and fitful vocals. “We’ve always tried to make it heavy but danceable, melodic but good rhythms,” says vocalist and guitarist, Geordie Greep. “It is accessible music, there are experimental aspects that we’ve taken from when we went crazy at the beginning, we’ve just reigned it in to make something that is pop music.”

Alongside the band’s recently shared single, Crow’s Perch, “Talking Heads” will be released as a double A-side 12” on 17th May via Rough Trade.

black midi is comprised of Geordie Greep (vocals/guitar), Cameron Picton (bass/vocals), Matt Kwasniewski-Kelvin (guitar/vocals) and Morgan Simpson (drums). The repartee between the quartet is quiet but quick and laconic. It’s a connection reflected in the intensely focused and driven live shows with which black midi have made their name, drawing comparisons to American groups like Shellac, but that’s only half the story to this deeply uncategorizable music. They bonded over shared musical enthusiasms, or “liking messed up things” as Kwasniewski-Kelvin puts it, including an appreciation for rapper Danny Brown, Death Grips, Deerhoof, Miles Davis and Talking Heads.

PicaPica reveal new track “Day To Day Parade”

29 April 2019

Rough Trade Records are pleased to share the new song & video from sunshine folk/pop outfit PicaPica.

“Day To Day Parade” is taken their debut album Together & Apart which will be released on June 7th, 2019 through Rough Trade Records and available on CD / LP / DL formats.

“Together & Apart” was recorded at the end of 2018 and is produced by Mobo / Mercury Nominated Producer Sonny Johns who also plays bass on the record.

The album is about health and heartache, spring and shade, love and loss and life. PicaPica are able to balance life’s joys and sorrows beautifully, effortlessly, and in continuous harmony, viewing life’s coloured photographs as imagined through their silvery negatives.

FKA TWIGS RETURNS WITH NEW SINGLE ‘CELLOPHANE’

Written and produced by FKA twigs with Jeff Kleinman and Michael Uzowuru, ‘Cellophane’ is twigs’ most vulnerable song to date and is an enticing first glimpse of what to expect from her second album; the follow up to her Mercury Prize and Brit Award nominated 2014 debut, LP1.

Talking about the process, FKA twigs says: “throughout my life I’ve practised my way to being the best I could be, it didn’t work this time. I had to tear down every process I’d ever relied on. go deeper. rebuild. start again”

‘Cellophane’ is accompanied by a video directed by Andrew Thomas Huang. The video is a powerful visual contrast to the vulnerability of the song’s lyrics (“Didn’t I do it for you? Why don’t I do It for you?”) and stars FKA twigs in a role that she trained for months in advance for, adding another facet to her enviable multi-disciplinary skill set.

In FKA twigs own words: “when I wrote cellophane over a year ago a visual narrative came to me immediately, I knew I had to learn how to pole-dance to bring it to life, and so that’s what I did. thank you andrewthomashuang, for elevating my vision beyond words. you are a visionary. kellyvon thank you for being with me every step of the way on my precious pole yellow brick road. working with you both on this is a dream come true.”

Meanwhile, FKA twigs is set to perform live around the world over the summer. In addition to global festival appearances, the run of dates includes two sold out headline shows at New York’s Park Avenue Armory, which will see twigs performing in New York for the first time since dazzling audiences with her Congregata show in 2015. She also recently hinted at further live dates – for more information fans can sign up here

TUNE-YARDS RELEASES THE ORIGINAL FILM SCORE FOR BOOTS RILEY’S SORRY TO BOTHER YOU

19 April 2019

Tune-Yards, the duo of Merrill Garbus and Nate Brenner, releases the original score for Boots Riley’s acclaimed 2018 film Sorry To Bother You starring Lakeith Stanfield and Tessa Thompson.

Tune-Yards score for the surrealist social satire film has been praised by Billboard as “a simultaneously erratic and ecstatic medley of instruments and vocal layering.”

Director Boots Riley described the score as “the film’s musical voice” and explains the difference between the score and the soundtrack by The Coup: “The characters can’t hear [the score]; the soundtrack, the characters can [hear].”

The score also includes dialogue samples from the film and four bonus tracks never before heard in the film. The bonus tracks include features from up and coming Oakland artists including Chhoti Maa as well as Lyrics Born and Lateef the Truthspeaker.

Merrill Garbus explains why the character Detroit was an inspiration for the score:

“When I first read the screenplay for “Sorry to Bother You,” I felt like the character of Detroit deserved celebrating through music. In many ways she’s the revolutionary spirit of the movie, though her partner Cassius is the lead character. (Maybe Boots will write a Detroit-centered spinoff someday…) Some of my favorite music from the score, which became a musical theme throughout the film, was written for the scene where we meet Detroit for the first time, twirling her “SIGNS” sign and getting paid so she could get to her true work: creating radical art, and running toward revolution.”